The most important hymn to conceptualize intelligible form (nāma-rūpa) in the Ṛgveda comes out of the ritual imagination of an ecstatic (vipra), whose mind has been sharpened by Agni’s flames and propelled by heat (Savitṛ) into the rupturous ‘Indra’ state of the inspired mind (dīdhayā manīṣām).

Indra (RV III.38) is considered part of the archaic strata in the Ṛgveda. Many scholars read it as an architectonic cosmogonic hymn, displaying early signs of the micro-macrocosmic universe that became central to the late Vedic era. Some think its manifold form (viśva‑rūpaḥ) may be an an actual object whose ritual production is encoded in the hymn’s craft language: takṣ‑ (cut, shape), dadh‑ (set down), mimī‑ (measure), añj‑ (anoint) yem‑ (stretch).

At any rate, manifold form (viśva‑rūpaḥ) is Varuṇa, and the hymn is certainly a beautiful crystal splintering of heat and light into bodies: mind, tool, sky, earth, passages, sun, woman, cosmos, self. It is a true tour de force. Yet, it is also a reflection upon the poetic craft. The seer’s mind wind (manovātāḥ) transports his praise into the secret rites of the poets of yore and finds their visions and voices, their births, in Ṛta.

The inspired mind (dīdhayā manīṣām) strikes forward like an axe (taṣṭeva), like a well‑yoked charger straining forward (atyo na vājī sudhuro jihānaḥ). Touching upon the beloved and the far‑off things, I, insightful, (sumedhāḥ), seek to behold the poets (kavīm̐r).

Come now, inquire into the births of the poets; those beautiful makers (sukṛtas) upheld by mind (manodhṛtaḥ) carved (takṣata) the sky. These praises (praṇyaḥ) of yours, growing forth, driven by the wind of mind (manovātāḥ), have now gone to their proper place (dharmaṇi).

Herein, the hidden ones (guhyāḥ) set down, and for dominion (kṣatrāya), anointed the two worlds (rodasī). With measures (mātrābhiḥ) they measured them; they extended the broad expanse (urvī). Within, they established the great one (mahī) for the bearer of the rite (Agni).

He stood forth (ātiṣṭhantam), all the powers arrayed (abhūṣan). He moved, clothed in splendours (chriyaḥ), with his own radiance (sva‑rociḥ). The great name (nāmā) of that bull of the Asura (vṛṣṇo asurasya), manifold form (viśva‑rūpaḥ) took his stand among the immortal things (amṛtāni).

The first bull brought forth (asūta pūrvo), mightier, with abundant sustaining powers (śurudhaḥ). O Son of Heaven (divo napātā), by the insight (dhībhiḥ) of the ritual assembly (vidathasya), the kings (rājānāḥ) set dominion (kṣatra) from highest heaven (pradivaḥ).

The three kings (trīṇi rājānā) in the ritual assembly have adorned (bhūṣathaḥ) all around (pari viśvāni) the many (purūṇi) seats. Here I beheld (atra apaśyam) with my mind moving (jaganvān) the Gandharvas in their bond (vrate), even the wind‑haired ones (vāyu‑keśān).

Now then, of this Bull‑Cow (vṛṣabhasya dhenoḥ), the shapers (māyinaḥ) measured (ni mamire) this form (rūpam asmin). They measured fitting (sakmyaṃ) names (nāmabhiḥ) of the Cow, the powerful one (asuryam), putting on (vasānā) one after another (anyad‑anyad).

Now then, of this wave of the sun (asya savituḥ), nothing of its golden insight (hiraṇyayīm amatim) has been held back. At beautiful praise (su‑ṣṭutī) the two worlds open out (viśvaminve); like a swelling young woman (apīva yoṣā), she has embraced (vavre) all births.

You two bring the ancient (pratnasya) great work to completion (sādhathaḥ), so that divine glory (daivī svastiḥ) may surround us. Of the cow‑tongued (gopa‑jihvasya) one with many forms (virūpāḥ) who stands firm (tasthuṣaḥ) — the shapers (māyinaḥ) behold all (viśve paśyanti) things done (kṛtāni).

Let us gladly call upon (huvema) Indra the bountiful (maghavānam), the best of heroes in this contest (asmin bhare), the winner of strength. Attentive (śṛṇvantam), mighty (ugram) for aid in the battles, the smasher of constraints (ghnantam vṛtrāṇi), the conqueror of riches.

RV III.38 (Indra) ~ Viśvāmitra Gāthina

Indra‘s image of intelligible form (nāma-rūpa) contains a string of modes: the bull of the Asura (Varuṇa), which is manifold form (viśva‑rūpaḥ), the Bull Cow (Vāc), which is the hymn, and the Cow who is the Asura (Aditi), which is the source of the divine (devata) and everything else. Their movement is from the open (Aditi), to its begin bounded (Varuṇa) and shaped by sound (Vāc) — specifically — bounded and shaped by the inspired utterances (ukthá) of the poets (kavi).

Inspired speech (ukthá) consists of sound‑forms (nāman) that capture the open (Aditi) and shape it into form (rūpa). The poets (kavi) carve the sky, establish dominion, measure worlds and clothe form (rūpa) upon the open (Aditi) with names (nāman). Intelligible form (nāma–rūpa) is the poet’s own constructive power.

Names (nāman) are ritually bound, a kind of vow (vrata), and must follow the pathways of ṛta (ṛtasya pathāḥ). Everything — even sound (Vāc), even the open (Aditi) herself — is bounded (Varuṇa). The ecstatic, inspired mind (manīṣā) of the poet (kavi) breaks constraints (vṛtrāṇi) and exposes hidden (guhyāḥ) names (nāman) for the open (Aditi). The poet (kavi) then re‑constitutes the world through his own ritually bound speech (brahma).

The next most important hymn to conceptualize intelligible form (nāma-rūpa) is Frogs (RV 7.103), widely considered the most charming hymn in the Ṛgveda. It may be in real tension with Indra (RV III.38), in which intelligible form (nāma–rūpa) is a power concept. Frogs seems to reply to it by dissolving its compression: leaving intelligible form (nāma–rūpa) to surrender to desire (enor) and desire to follow the natural order of seasons (ṛtasya pathāḥ).

In it, frogs who, bear the same name but different forms (samānaṃ nāma bibhrataḥ virūpāḥ) replace the poet’s ego. Sound (Vāc) is divine. Lying silent and desiccated in shallow pools under the heat, when a god brings the nourishing monsoon rains, the frogs become animated and begin a wondrous croak. They break silence like observing a vow (vrata‑cāriṇaḥ). Their voices converge, repeat, instruct and follow the monsoon’s release, not the conceits of an inspired mind.

Having lain silent for a year, like brāhmaṇs observing a vow (vrata‑cāriṇaḥ), the frog’s (maṇḍūkāḥ) voice has come forth (pra avādiṣuḥ), animated (jinvitām) by Parjanya.

When the heavenly waters (divyā āpaḥ) come down on him, lying like a withered hide (dṛtiṃ na śuṣkaṃ) in the pond, like the ‘aha‘ lowing of cows with their calves, the frogs’ call converges (sam eti) here.

When it has poured down (abhi‑avarṣīt) on them who are eager (uśataḥ), when the monsoons come, having made ‘akhkhalī‘ like a son to his father, one approaches the other, speaking (vadantam).

One and another (anyaḥ anyam) grasps in desire (enor) when they have become exhilarated (amandiṣātām) in the release (prasarge) of waters. When the frog has been drenched (abhivṛṣṭaḥ), the spotted one (kaniṣkan), the speckled one (pṛśniḥ), mix (saṃ‑pṛṅkte) their speech with the green one (haritena)

When one another (anyaḥ anyasya) repeats the other’s voice, like a pupil learning instruction (śikṣamāṇaḥ) from his teacher, all that for them is like a prosperous rite (samṛdhe iva parva), when you beautiful voiced (su‑vācaḥ) ones utter (vadatha) here in the waters (na adhi apsu).

One a cow’s bellow (gomāyuḥ), one a goat’s bleat (ajamāyuḥ), among them, one mottled (pṛśniḥ), one green (haritaḥ). Bearing the same name (samānaṃ nāma bibhrataḥ) but different forms (virūpāḥ), in many places (purutrā) they dapple (pipiśuḥ) their voices (vācam) as they speak (vadantaḥ).

Like brahmins at the Atirātra soma rite speaking all around a full (pūrṇam) pool, that day of the year (saṃvatsarasya) has returned (pari ṣṭha), when the frogs have become a belonging of the monsoon (prāvṛṣīṇam).

The brāhmaṇs, the soma pressers (sominaḥ), have made their voice (vācam akrata), performing the sacred utterance (brahma) for the whole year (parivatsarīṇam). The adhvaryus, heated, sizzling, appear openly, none remain hidden (guhyāḥ na kecit).

They have guarded the divine arrangement of twelve-month year (dvādaśasya). Like men, they do not overstep (pra‑minanti) the right time (ṛtum). When the yearly monsoon (prāvṛṣi) has arrived, the heated (taptāḥ) and steaming ones (gharmāḥ) attain their release (visargam).

The cow-voiced one (gomāyuḥ) has given, the goat-voiced one (ajamāyuḥ) has given, the speckled one (pṛśniḥ) has given, the green one (haritaḥ) – our riches. The frogs, giving hundreds like cows in the thousand-flowing rite (sahasra‑sāve) extend our life (āyuḥ).

VII.103 (Frogs) ~ Vasiṣṭha Maitrāvaruṇi

Sources

Griswold, H.D. (1910). The God Varuna in the Rig-Veda. Ithaca, New York: Taylor & Carpenter.

Jamison, S. & Brereton. (2014) Rig Veda. Oxford: Oxford University Press. (UCLA Rigveda Translation Commentary http://rigvedacommentary.alc.ucla.edu/)